Für immer und ewig

This movie has a sober sense of tragic : It shows how life is fragile and uncontrollable, whether it is a young couple passionately in love hit by a terrible accident or a double-kid mature couple whose husband will be unfaithful to his wife. The cleverness of the story-telling lies in the fact that the two stories are highly intertwined and all through movie you find yourself recognising everything the characters struggle through. You want to judge them but you are left with you own guilt without any conclusion fro the film. The documentary-style and the dogme do not prevail over the meaning and even give some realistic strength to the beautiful acting. To sum up : a simple tale of two destinies where tragedy reveal our fragility and love can redeem guilt. (7 out Of 10)

Enough has been said about the Dogme rules, and the many movies that have been made with the certificate. No matter if you like the concept or not, Dogme will always ad a great amount of realism into a movie. And in "Elsker Dig Forevigt"/"Open Heart" the realism is very strong. Probably stronger in any of the other Dogme-films I have seen.

Even more realistic the movie gets from the acting, which is outstanding. I found Mads Mikkelsen a bit under-achieving in the beginning, but as the drama gets more intense – so does Mikkelsen. He is Niels, the soft, modern, Danish family-man, who is as good with the kids as he is with his job. Other of Mikkelsen's parts has been very far from that, not least playing Tonny in Refn's "Pusher" and "Pusher II".

The wife of Niels, Marie, is well performed by Paprika Steen. Danish movies have had a reputation (in Denmark) that they are all dull, everyday-dramas with Paprika Steen in a leading role. "Elsker Dig..." has probably played a part in creating this reputation. It's not really fair, firstly because Danish movies are a lot more than that and secondly because Steen is really good. In "Elsker Dig…" she shows great dept in her acting, and in one of the best scenes in the movie Marie's 'house-wife-facade' breaks down, showing that Marie is a lot stronger than what you could have expected. It's a difficult scene, but Steen carries it out very well.

As the third corner stone of the triangle Sonja Richter is the young woman Cæcilie who's boyfriend Joachim (Nikolaj Lie Kaas) is severely injured, when he gets run down by Marie, driving a bit too fast. The performances by Richter and Kaas are as spotless as they are outstanding.

I have to comment on the children in this movie. It rarely works really well, because children aren't actors. But the teenage daughter of Niels and Marie, Stine (Stine Bjerregaard), has a lot to offer. She too has a big scene, again it works, and it's brilliant. The younger brothers, Gustav and Emil, works very good too. These kids aren't 'acting' they are 'living' their parts. Stop casting wonder-kids, and look this way!

This thing is normally not my thing. But still I rated this movie high – because it is a good movie. I generally like realism in movies (which I guess this review unveils) and that is 100% here.

A Bergmanesque study of a marriage that is turned upsidedown by one part mishap and one part momentary lapse of reason. What's provocative here, and makes for an intelligent and moving film, is the way in which the spurned wife (played with quiet dignity by the estimable Paprika Steen) doesn't dish up deserved revenge, quivering hatred or physical or mental violence. but, rather, offers an attempt to understand, to accept, and to hold the family together regardless. How rare is this? The line that stays with me - and it's a casual aside but one that cuts straight to the bone - is Paprika telling her husband's mistress that `we can't even afford' the new furniture he has lavished on her.

Once the film hits its groove, its DOGME origins are forgotten and we're left with intimacy and the thousand and one little tragedies that unfold on any given day of any given week. It could be said to be modest in scope, somewhat uninventive in form, and it does immerse itself uncritically in the middle class milieu (and in this respect, I would liken it to Moretti's `La Stanza del Figlio' - except that film does seem to express a suppressed distaste for Berlusconi's Italy), but there's an honesty and maturity that make it a valuable experience - particularly for any teenager used to a soap opera diet of hysterical marriage operatics. or for anyone still recovering from `Festen'.

At its best, and there's a frisson of that here, DOGME-95 has delivered fresh slices of life (or, to elaborate, privileges a panorama of personal battles against a recognisably familiar backdrop) - its Vows of Chastity whittling the camera down to something akin to a microscope.

Having just watched this film, I had to write something. Totally stunned by the film and its depth. The acting was superb, with totally believable characters involved with an amazing script. I would rate this as probably the most impacting film I have watched. I would recommend watching this film with a loved one. Don't miss any chance to watch this.

The music score is first class, and fits exactly with the tone of the film. Having not seen the actors before, my next task will be to find out what else they and the director have been involved with, in the hope that another gem exists of similar quality.

Halfway through Open Hearts, it becomes more obvious that you're watching a fictional account. The plot becomes slightly predictable, which is a good thing. For the most part, this new Danish film feels like a reality documentary and pulls you in like reality itself. Director Susanne Bier follows the technical requirements to earn a Dogme 95 certification, which means the film has to be devoid of any unnatural camera movement, lighting and sound among other rules. As a result, Open Hearts is also devoid of superficial movie cliches and full of heartfelt human situations.

The film follows a young, newly?engaged couple and a married couple with kids, whose lives are interrupted and complicated by a road accident. Bier stays clear of the external effects of the drama and instead focuses on the characters' inner effects. Her protagonists lose emotional control and appear ill?equipped to handle the consequences of an unexpected tragedy. The film's appeal is not only universal, but timely as well, shattering the modern belief that everything is controllable. Once tragedy strikes, our lives seem far more fragile than we thought.

Stephan Paschalides